Stereo recording techniques capture a sound source with two microphones so the playback has width, depth and a sense of space, rather than a flat mono image. The right technique depends on the source, the room, and how wide and mono-compatible you need the result to be. This guide covers the five methods worth knowing — XY, ORTF, spaced pair (A/B), Mid-Side and Blumlein — and when to reach for each.
Why use stereo recording techniques at all?
A single mic gives you mono: solid and reliable, but with no left-to-right placement. Stereo recording techniques use the small differences between two mic signals — differences in level, timing, or both — to recreate where sounds sit across the stereo field. That width is why a well-recorded acoustic guitar or drum overhead pair sounds three-dimensional instead of stuck in the middle.
Before you commit to a method, decide two things: how wide you want the image, and whether the recording must stay mono-compatible (important for podcasts, club systems and phone speakers). Coincident techniques like XY collapse to mono cleanly; spaced pairs can suffer phase cancellation. If you are still getting your levels right, read our guide to gain staging first.
Coincident: XY and Blumlein
Coincident techniques place two microphone capsules as close together as possible, angled apart. Because the capsules share almost the same point in space, there is no timing difference between them — the stereo image comes purely from level differences. This makes them the most mono-compatible techniques.
- XY uses two cardioid mics with capsules stacked vertically, angled 90–135 degrees apart. It is forgiving, easy to set up, and rock-solid in mono. The trade-off is a narrower, slightly less dramatic stereo image.
- Blumlein uses two figure-8 mics crossed at 90 degrees. It captures a wide, lifelike image with lots of room sound, because the rear lobes pick up reflections. It needs a good-sounding room and proper figure-8 microphones (often ribbons or multi-pattern condensers).
Near-coincident: ORTF
ORTF splits the difference. Two cardioid mics are spaced 17 cm apart with capsules angled 110 degrees outward. The small spacing introduces gentle timing differences on top of the level differences, giving a wider, more natural image than XY while staying reasonably mono-friendly. It roughly mimics the spacing and angle of human ears, so it is a favourite for acoustic guitar, choirs and room recording.
Spaced pair (A/B) and Mid-Side
A spaced pair places two mics (often omnidirectional) a metre or more apart, pointing at the source. The result is the widest, most enveloping image, with a lovely sense of depth — but timing differences between the mics can cause phase issues, and it is the least mono-compatible technique. Use the 3:1 rule: the mics should be at least three times as far from each other as each is from the source.
Mid-Side (M/S) uses a forward-facing cardioid (or omni) as the “mid” and a sideways figure-8 as the “side”, decoded into left and right. Its killer feature is adjustable width after recording — turn up the side channel for more width, down for more focus — and it is perfectly mono-compatible. It is the technique of choice when you are not sure how wide you will want things in the mix.
Choosing a technique for your source
| Source | Good starting technique |
|---|---|
| Acoustic guitar | XY or ORTF, around 30 cm out |
| Drum overheads | XY or spaced pair |
| Piano | Spaced pair or ORTF |
| Room / ambience | Blumlein or spaced omnis |
| Solo voice with width control | Mid-Side |
Whichever you choose, matched microphones help — two of the same model with similar response keep the image balanced. For pairing techniques with mic types, see our explainer on large vs small diaphragm condensers and the rundown of microphone polar patterns. For more hands-on capture advice, browse the full recording techniques hub or our walkthrough on recording acoustic guitar.
Frequently asked questions
Which stereo recording technique is best for beginners?
XY is the most forgiving. Two cardioids, capsules together, angled about 90–110 degrees apart — it is hard to get wrong and always sounds fine in mono, so it is the safest first technique to learn.
Do I need two identical microphones?
Ideally yes. A matched pair keeps the tonal balance even across the stereo field. You can mix two different mics, but expect the image to lean tonally toward whichever mic is brighter or louder.
What is the 3:1 rule in stereo recording?
For spaced pairs, keep the distance between the two mics at least three times the distance from each mic to the source. This minimises phase cancellation when the two signals are combined, keeping the recording clean and mono-compatible.
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